Robert Passal

Robert Passal ditched the idea of becoming a news anchor because he didn’t want to spend fifteen years in the boondocks at some tiny local TV station. After burning out working in the restaurant business, he wrote himself a bogus resumé, something he cheerfully admits to, and worked his way into becoming the successful interior designer he is today. This interview is really interesting when it gets to the bit about one section of Robert’s clientele, which is professional athletes, including A-Rod and his (surprising?) taste in interiors.

I was reading your website and there was something that struck me because you stress ‘…the importance of living with good design and a comforting atmosphere.’ And I was struck by this word ‘comforting’ as opposed to ‘comfortable’. Was that a deliberate choice?

We did choose ‘comforting’. When we do interiors, we try to invoke the feeling of evolution, so it’s just not like we dropped in a bunch of furniture from the D&D, and you know, let’s call it a weekend. We really shop for each piece individually and we do really in depth interviews with the clients.

What is your point of departure in an interview with clients. What would your approach be, if for example, we were prospective clients? What are your first questions?

Oh, children … animals … how do you entertain? We talk about their lifestyle.

What did you study at SUNY?

I studied communications. I wanted to be in broadcasting … I wanted to be in news.

In the front vestibule are photos by Michael Stuetz, a Fortuny fixture and an antique Turkish runner.

A lamp by Christian Liaigre sits atop a pair of 19th century retrofitted Blackamoors.

‘What Would Oprah Say?’, by South African artist, Brett Murray.

Right: The bedroom wall is upholstered in Brunschwig & Fils cotton velvet, The zebra carpet is by Patterson Flynn Martin, and the bedding is by Williams Sonoma Home, A custom rosewood mirror was made by (Robert Passal Interiors) –RPI

Below: In the master bedroom both the headboard and bedside tables are wrapped in python.

The lamps are by James Mont through Pascal Boyer Gallery. A Victorian shadowbox egg collection hangs on the far wall.

Shoe Whore!

Why did you not do that then?

Um, I learned more about broadcasting and being a news anchor and I didn’t really want to spend the first fifteen years of my career living in Iowa and Idaho, you know being onsite at 3 a.m. and wake up one day and be like Bill Beutel – you know it didn’t happen.

So how did you go on to become an interior designer?

I was about 25 and this sort of like mid-life crisis …

That’s not exactly mid-life …

No, joking … I was in the restaurant business and I was doing just fine financially for a guy in my age bracket, and then I just had a meltdown. I thought, how long can I possibly do this … how long could I work until 11 p.m. and be back at 10 a.m.? You know fourteen-hour days some days and then back in the morning. I got burnt out. I left my job. I was introduced to this book called ‘The Artists Way’ by Julia Cameron. It [comprises] a twelve-week course, and you journal every day.

Above: Family Jewels.

Right: Bedside reading.

A close up of the Victorian shadowbox egg collection.

The custom cabinetry was designed by RPI. The window treatment is in Holland & Sherry fabric.

It’s personal. It’s not a blog … anyway, by the fourth week I had signed up for FIT. I made up a bogus resumé … and I went to the D&D building and I handed out resumés. By the time I got home, I had gotten a call from John Rosselli and I worked for him for about a year and a half in sales.

Did you tell him that your resumé was bogus?

No [laughs] …

Don’t you think when you’re young everyone has to cheat a bit to get going. There’s that phrase: ‘Fake it until you make it’.

[Laughs] That’s a good one! So I worked there and met a lot of designers and I was going to FIT. Then one day one of my clients came in one day and said, would you be interested in interviewing with us, a Connecticut-based design company and I worked there for five years, built up a clientele and then like everyone else went off by myself. It was very scary.

Above: A French bronze sculpture is perched on the library windowsill.

Left: Hanging on the far wall of the dining room/study is a collection of salon-style framed nudes amassed by Robert over years from antique dealers, flea markets, and galleries. The custom dining table and banquette is by RPI.

All the custom cabinetry is by RPI.

The sheep are by Francois-Xavier Lalanne. Vintage Wedgewood glassware bought on eBay works as a handy bar. The hammered bronze lamp by Felix Agostini was purchased at Pascal Boyer galleries.

Right: Sitting atop a console Robert purchased at auction is a Nubian cachepot by Fornasetti from David Duncan Antiques. Hanging behind is a cut paper collage by close friend and artist Allison Massari, The brushed steel dining chairs are by Jansen.

Below: More framed nudes amassed by Robert over years.

The hexagonal geometric oil on canvas is by Eleanor Powell. Nearby is a 1920’s Deco armchair purchased at auction.

Duraflames by Murray Hill Market.

A collection of mercury glass spheres and madonnas line the top shelf of a bookcase.

Dakota Jackson entertainment cabinet.

An ostrich egg sculpture by Diego Giacometti.

‘Brad Pitt’ by Steven Klein.

Right: Art from left to right: ‘Gods & Designers’ by Reinaldo Sanguino, a self-portrait by Brainard Carey, ‘John Day of Release’ by Michael Stipe, an ostrich egg sculpture by Diego Giacometti, ‘Ms. Coney Island’ by David La Chappelle and ‘Black and White Baby’ from the estate of Bobby Short.

Below: A side view of a Dakota Jackson entertainment cabinet. In the corner, the ceramic ‘Fuckit Bucket’ is by Philip Egland through Dean Projects.

What do you like about the job?

I like everything … I love installations. I love just watching it all come together. I love watching the drapes go up, the carpets roll out, placing each accessory and just to watch the expression of that people have when the come home. We send clients out. We don’t allow them to be in on the installs.

You mentioned that you’ve done quite a few projects for professional athletes – how did you get to do work for them?

We had done a project for someone and one of the New York Yankees, his manager saw the project out in New Jersey, and [the New York Yankee player] was just getting settled on the Upper East Side, 77th and 3rd at the Seville, so we started working with them and it was published in House & Garden. Then we started working with Jason Giambi, and we’ve done two projects for A-Rod.

Above: In the living room both the sofa and cocktail table were custom designed by Robert. Vintage lamps were purchased at Center 44 . The 70’s chrome ottoman is covered in Lilieve Brocade velvet, through Old World Weavers, The large photo, ‘Paula,’ is by Hendrik Kerstens through Dean Projects.

Right: The 1940s French chandelier is from Pascal Boyer galleries, An Albert Hadley starburst mirror hangs above the fireplace mantle. The pair of Foo dogs by Michael Lucero and a Reinaldo Sanguino ceramic side table are both from Dean Projects LIC, NY.

Above: Potted cyclamens brighten the kitchen windowsill.

Left: In the kitchen a Swedish mid-century painting hangs above an Alessi teapot, and a boar tureen found at a roadside garage sale.

The cook book selection.

Have you? Did you meet Madonna?

No. [laughs] We did a really beautiful Park Avenue apartment that sort of invokes almost like old-school Park Avenue.

Does their taste surprise you?

He is an extreme traditionalist. He’s an old soul. If it was up to him, he’d have chintz … sort of Ralph Lauren 1987 … but we did it in a very spirited way. For the Miami place, we did a 48-hour presentation, flew all the samples down, did an artist’s rendering of every room.

That’s must have cost a lot. How do you cover that? What do you charge?

We work on a design fee [payable] up front – generally $2500 per room.

So do they generally have conservative taste, these athletes?

No. I mean we worked for a basketball player and we installed stripper poles … like it was a complete ‘crib’ kind of space … zebra drapes, a big macassar ebony bed. He was 6’7” and we had to raise all the shower heads … it was out of control.

Do they take you seriously? Are they macho about it all?

No, they trust you. Plus it’s a fraternity, you know, those guys they talk. The thing with working with athletes is that they don’t have the time and they don’t have the patience and they don’t want to go out shopping for silverware. Generally we go out and buy the toaster, the silverware … everything.

Now when you’re not working what do you like to do?

I like to travel … I like to eat. I’m always on a diet. I was really heavy.